http://www.fleseri.com/blog/index.php Copyright 2008, Marco Fleseri Marco Fleseri en-US SPHPBLOG 0.5.1 http://www.fleseri.com/blog/index.php?entry=entry080516-154810
I'm totally kidding.

Although at times I do have several ideas churning around, there are other times (particularly after a heavy period of production) where I have a dry spell.

When that happens, what I do is look at my tools and "listen" for an idea. Or I go through all of the materials I have on hand, metals, gemstones and beads and play around with different arrangements of things. Sometimes I just go for a walk and look at things in nature as well as industrial and mechanical objects around me. I take in all the shapes and curves and surfaces and then I go back to my bench. At some point during either of those two exercises an idea comes to me.

What I do NOT like to do is look at any other jewelry. I don't want to risk "borrowing," even accidentally, from someone else's work.

See how these other artists answered the above question:

http://lorahartjewels.blogspot.com/
http://www.creativetexturetools.com/news/
http://www.kaskiles.com/
http://angelacrispin.canalblog.com/
http://penny-candies.blogspot.com/
http://gentrydesignco.typepad.com/jewel ... do-to.html
http://chris-parry.blogspot.com
http://www.lorrene-davis-designs.blogspot.com
]]> http://www.fleseri.com/blog/index.php?entry=entry080516-154810 Marco Fleseri Fri, 16 May 2008 19:48:10 GMT http://www.fleseri.com/blog/comments.php?y=08&m=05&entry=entry080516-154810 http://www.fleseri.com/blog/index.php?entry=entry080425-105930 If you suddenly became wealthy and didn't have to sell your jewelry anymore for income, would you still sell it? Would you still make it? and why?

(This question was posed to me and a group of other artists with blogs, to share our thoughts collectively. Links to the other blogs are at the end of this entry.)



I never thought about suddenly becoming wealthy, but growing wealth is something I've been working toward.

Fortunately, I have had other ways to make money, so although my jewelry has provided supplemental income I've never depended on it. I am actually working to shift the balance of my work and income such that jewelry is my only "work." I would of course be very happy to be doing exclusively what I love for a living, and becoming wealthy doing it would be icing on the cake. To have extra money to live comfortably AND do what I most love doing, what a wonderful life. If it happened rapidly via some windfall (winning the lottery for example), so much the better -- more time for jewelry-making!

:)

I would absolutely continue to make jewelry even if I never intended to sell another piece of it. It's an artistic expression, not just about the money. I love making beautiful wearable objects out of metal.

In fact, I love it so much I don't really see myself retiring. I'll continue to make jewelry as long as my hands and eyesight allow. Money/income/time permitting, years from now I may do more teaching. I like the idea of passing on a lifetime's experience to those who are passionate about metalsmithing.

---

See what the following artists have to say in answer to the same question:

http://lorahartjewels.blogspot.com/

http://www.creativetexturetools.com/news/

http://www.kaskiles.com/

http://angelacrispin.canalblog.com/

http://penny-candies.blogspot.com/

http://gentrydesignco.typepad.com/jewel ... hronicles/

]]> http://www.fleseri.com/blog/index.php?entry=entry080425-105930 Marco Fleseri Fri, 25 Apr 2008 14:59:30 GMT http://www.fleseri.com/blog/comments.php?y=08&m=04&entry=entry080425-105930 http://www.fleseri.com/blog/index.php?entry=entry080308-121016

Warlord ring
fine silver with a 6.4ct (12mm) garnet

You need to view this from multiple angles to really see the design.
It's quite large! Very attention-getting.

Sort of a variation from my All the King's Rings series, this ring seems to have a bit of a dark side, hence its name.
]]> http://www.fleseri.com/blog/index.php?entry=entry080308-121016 Marco Fleseri Sat, 08 Mar 2008 17:10:16 GMT http://www.fleseri.com/blog/comments.php?y=08&m=03&entry=entry080308-121016 http://www.fleseri.com/blog/index.php?entry=entry080305-140009 Creative Texture Tools blog by artist/instructor Elaine Luther, she's written about torch-firing metal clay, with some quotes and opinions about the technique from yours truly. ]]> http://www.fleseri.com/blog/index.php?entry=entry080305-140009 Marco Fleseri Wed, 05 Mar 2008 19:00:09 GMT http://www.fleseri.com/blog/comments.php?y=08&m=03&entry=entry080305-140009 http://www.fleseri.com/blog/index.php?entry=entry080304-230216


This is a set of dapping punches with a dapping block -- heavy steel components used to make curved and domed surfaces.

The interesting thing about tools and such is that they have an obvious impact on one's designs... not that people should expect that suddenly I'll have lots of designs with domed shapes, but the capability means that more diversity will show up to bridge the gap between my two different styles of very organic and very geometric.]]> http://www.fleseri.com/blog/index.php?entry=entry080304-230216 Marco Fleseri Wed, 05 Mar 2008 04:02:16 GMT http://www.fleseri.com/blog/comments.php?y=08&m=03&entry=entry080304-230216 http://www.fleseri.com/blog/index.php?entry=entry080222-090200
My answer to the above question, if I limit myself to only one thing, is: Metal Clay. I began using metal clays (silver and gold varieties) in 2005.

Metal Clay is unfortunately named in my opinion, because its name doesn't convey that it is in fact metal by the time you're done working with it. For those who are unfamiliar with this material, here's a brief explanation:

Metal clays are composed of a synthetic clay material known as a "binder." Embedded in this binder are microscopically small particles of pure silver, pure gold, or beginning this summer, bronze. You sculpt and form this material like regular clay, into the desired shape and let it dry. Once dry, it is fired either with a blowtorch or in a kiln. During firing the binder burns away and the metal particles fuse together (a process known as "sintering"). The original sculpted item shrinks slightly (10-12%, depending on the version of material used) and at the end of the process you're left with a solid metal object in the exact shape of your original sculpture. That object will be pure ("fine") silver, 22K gold, or bronze. The "clay" part has vanished.

This capability has made a dramatic impact on my work, which was previously very linear and geometric. I used to only produce jewelry by traditional fabrication methods: cutting, bending and forming shapes from sheet and wire and connecting them together to make my pieces. Saw, bend, solder with torch, file, sand and polish. Occasionally I would build wax models for casting, but I have never been particularly fond of wax carving. It's a subtractive process, and I prefer to think the opposite way. Metal clays let me do just that.

The ability to build the shape as I go rather than trying to carve it out of something else has opened a floodgate of creative ideas, simply because for me they were now easier to create.

Adding this medium to my skill set has also made possible designs that would be extremely difficult if not impossible to create using any other method, such as the large hollow beads I've made.



The ability to produce what's in my head without technical impediments or limitations of particular techniques has allowed me to truly express my artistic vision.

Metal clays have their limitations too, and they are neither inexpensive nor always easy to work with. Also, since they are more accessible to the public and don't require a lot of specialized training, many people with no metalsmithing skills have taken up the medium. This is interesting to me in the same way that digital video has become very public. Unfortunately, as with digital video, having access to a technology doesn't mean you can automatically produce beautiful work.

Last year, Metalsmith magazine featured a cover story about metal clays and how the medium has progressed since its invention. Of note were the following observations:

"Of course, as with other materials and processes, the ability to work with metal clay, or even to teach it, does not necessarily mean that one can use it in an artistically inspired manner, and despite the material's impressive growth, acceptance by the mainstream art jewelry world has been slow. Some still regard the material with a degree of skepticism. Those who have spent years acquiring their much-prized metalsmithing skills look down on metal clay as hobbyist material, and don't consider it 'real metal.'"

"One of the unique qualities of metal clay is its ability to take on almost any form with great ease. That said, its formability can lead to gloppy and unresolved shapes. Using metal clay in a crisp, clean manner is a challenge."

- Donald Friedlich, Metalsmith magazine, 2007 Vol. 27 No. 3

More and more metalsmiths are learning that they can incorporate this new medium into their repertoire of techniques. I frequently combine metal clay with traditional fabrication methods to produce larger works that would be very difficult and time-consuming to cast. It's also a way to incorporate more organic shapes into otherwise linear designs. In sum, it's a technique that has greatly broadened my design capabilities and has affected my work more than any other tool or process.

Now have a look at what these fellow artists have to say about what has impacted their work the most:

Angela Baduel-Crispin

Tamra Gentry

Elaine Luther





]]> http://www.fleseri.com/blog/index.php?entry=entry080222-090200 Marco Fleseri Fri, 22 Feb 2008 14:02:00 GMT http://www.fleseri.com/blog/comments.php?y=08&m=02&entry=entry080222-090200 http://www.fleseri.com/blog/index.php?entry=entry080210-161930

Possibly something like my Neolithic Empress necklace, of chunky nugget-like handmade fine silver beads, amethyst and freshwater pearls. This piece has an ancient feel to it, and I read that the Neolithic (post stone-age) people had begun using amethyst... so this seemed an appropriate name.

Interestingly, the ancient Greeks invented the name "amethyst" as we know it in English. It means "not drunken," and was believed to prevent the bearer from becoming intoxicated. So you wouldn't wear amethyst to a party unless you were the designated chariot driver, I suppose.

;-)

]]> http://www.fleseri.com/blog/index.php?entry=entry080210-161930 Marco Fleseri Sun, 10 Feb 2008 21:19:30 GMT http://www.fleseri.com/blog/comments.php?y=08&m=02&entry=entry080210-161930 http://www.fleseri.com/blog/index.php?entry=entry080205-140113
Here though is No. 2 in the medieval-esque All the King's Rings series, set with a large (8mm) lively green peridot. Ring size is approximately 11. The top/setting was inspired by medieval weaponry (a combination of mace and morning star) altlhough the gem makes it more regal than threatening.



]]> http://www.fleseri.com/blog/index.php?entry=entry080205-140113 Marco Fleseri Tue, 05 Feb 2008 19:01:13 GMT http://www.fleseri.com/blog/comments.php?y=08&m=02&entry=entry080205-140113 http://www.fleseri.com/blog/index.php?entry=entry080124-094445
I got an idea for a chunky series of one-of-a-kind men's rings. Old-school, medieval style. Decided to call this series All the King's Rings.

Here's the first one, in fine silver featuring a white sapphire (ring size is about 10.5-11):



]]> http://www.fleseri.com/blog/index.php?entry=entry080124-094445 Marco Fleseri Thu, 24 Jan 2008 14:44:45 GMT http://www.fleseri.com/blog/comments.php?y=08&m=01&entry=entry080124-094445 http://www.fleseri.com/blog/index.php?entry=entry080122-141535
The aquamarine is completely curved/rounded and is like a drop of sea water... the inclusions give it a really beautiful sparkle.

Diosa del Mar
(Goddess of the Sea)



(I designed it to go on a thicker chain than is shown here, but this was all I had on hand this morning.)]]> http://www.fleseri.com/blog/index.php?entry=entry080122-141535 Marco Fleseri Tue, 22 Jan 2008 19:15:35 GMT http://www.fleseri.com/blog/comments.php?y=08&m=01&entry=entry080122-141535